執筆・創作のスキル

Story structure for screenplays and stage plays (故事结构) — merged from Syd Field's paradigm and plot points, Blake Snyder's Save the Cat beat sheet and board, Robert McKee's Story (event/scene/sequence/act, inciting incident, progressive complications, crisis-climax-resolution, subplots, story triangle), Julian Hoxter's nine-beat model, Neill Hicks' three acts as attraction/anticipation/satisfaction, and Lu Jun's Chinese short-play structure (凤头猪肚豹尾, 起承转合, eight openings, eight endings, 入戏要快/脉络要清/高潮要高/转变要顺/变化要多). Use when outlining a script, placing plot points and midpoint, fixing a saggy second act, designing an opening or ending, diagnosing "nothing happens", choosing between linear and non-linear designs, or converting a premise into beats and cards.

日本語の概要は準備中です。原文の説明を表示しています。

From an idea to a sellable series design; series engine / franchise, story pattern, character webs that keep generating conflict, pilot types, and the documents that sell them (剧集引擎/franchise/故事模式/人物网/试播集类型/剧集圣经/跳板/提案). Merged from Rabkin's four-element franchise and story landmines, Landau's tacit contract and pitch recipe, Oberg's series types and bible specs, Douglas's franchise-plus-springboard and bible tiers, Goldberg & Rabkin's 100-episode test, Blum's concept/presentation/bible ladder, Miller's ten-component treatment, Calvisi's Compelling Crisis, Smith's series format, plus engines read off Sopranos, Fleabag and Succession. Use when turning an idea into a series, testing whether a premise has legs, choosing premise vs typical-episode pilot, designing a sustainable character web, writing a logline, pitch document, bible or treatment, picking a series type, adapting IP into a series, or diagnosing a project that feels "more like a movie than a series".

日本語の概要は準備中です。原文の説明を表示しています。

Japanese (and other non-Hollywood) screenwriting methods (日本编剧方法/原创剧本实战) — distilled from ten Japanese directors and writers in ゼロからの脚本術; Kosawa Ryota (three acts as 起承转合, speed by jumping), Uchida Kenji (beautiful structure, time-axis tricks), Miki Satoshi (small-material notebook, theme emerges later), Sono Sion, Omiya Ellie (dialogue from inner monologue), Kakei Masaya ("if + moreover"), Fukuda Yuichi (character = actor + flaw, audience as tsukkomi), Yokohama Satoko, Takahashi Izumi ("pain"), Yukisada Isao (situation-born originals); plus Arai Haruhiko (IP adaptation, "write what you're ashamed of"). Neighbours; sw-korean-french-screenwriting, ozu-screenplay-style. Use when writing an original Japanese-style script or TV drama, working from small material and fragments, choosing between structure-first and character-first methods, building a Japanese 企画書, designing comedy tsukkomi systems, or when Hollywood models feel wrong for a quiet, daily-life, non-goal-driven story.

日本語の概要は準備中です。原文の説明を表示しています。

Scene and sequence craft (场景/段落/细节/道具/悬念/情趣) — merged from Robert McKee's scene design and five-step scene analysis (value turn, beats, text/subtext, turning points, pacing, image systems), McKee's Dialogue scene types (balanced, comic, asymmetric, indirect, reflexive, minimal), Syd Field's sequence and scene elements, Neill Hicks (less is more, enter late leave early, energy), Richard Walter (action over talk, small gestures, avoid phones/cars/restaurants, list twelve alternative locations), Wendy Henson (action paragraphs, transitions, story-doing), Julian Hoxter (scene beats, objectives and tactics), Mei Feng's value test, and Lu Jun's chapters 意趣要足 (suspense, delay, wit), 细节要妙, 道具要精, 场景要当. Use when writing or fixing a single scene, choosing a location, building a sequence, planting a prop or detail, designing suspense and delay, cutting a scene that "nothing happens" in, or turning talk into action.

日本語の概要は準備中です。原文の説明を表示しています。

Writing screenplays in the style of Ozu Yasujiro and Noda Kogo (小津安二郎・野田高梧) — distilled from six complete screenplays (晚春 Late Spring, 麦秋 Early Summer, 东京物语 Tokyo Story, 浮草 Floating Weeds, 秋日和 Late Autumn, 秋刀鱼之味 An Autumn Afternoon). Covers the "family member leaves" master plot, off-screen events / on-screen reactions, lie-driven plots, minimal-syllable confessions, go-between characters, faceless suitors, pillow-shot scene breaks, echoing objects, mirror characters, children's subplots as metaphor, displaced quarrels, the single-monologue rule, diminishing endings, Ozu's script format and stage-direction vocabulary. Use when the user wants to write a quiet family drama, a 小津风 / 侘寂 / 日常系 script, a story about marrying off a daughter, aging parents, or wants dialogue that says less and means more.

日本語の概要は準備中です。原文の説明を表示しています。

Mainland-Chinese TV-series craft, documents and production chain (国产剧创作体系与制片链) — the China layer parallel to the Japanese and Korean/French skills. Distilled from Yao Kougen 姚扣根《电视剧写作概论》(2016; series taxonomy, four Chinese script formats, the 3-minute/15-minute/episode-end suspense law, 36 situations), Zhang Wei 张巍《电视剧改编教程》(2014; five source types, sell-point migration, six case studies), Zhang Mingzhi & Song Peiyi《电视剧出品人与制片人教程》(2016; running-time rules, two-stage censorship, scene-breakdown sheet, contracts), Zhao Binbin《影视剧片段改编教程》(2016; film to stage fragment), plus official Chinese renderings of US TV terms from the translated Douglas and Blum textbooks. Use when writing or judging a 国产剧, turning a novel or IP into a 30–50 episode drama, writing a 策划书 / 分集梗概 / 人物小传, formatting a Chinese teleplay, sizing episode count and word count, checking content red lines and the 立项/备案/审查 chain, reading a Chinese screenwriter contract, or mapping US series vocabulary onto Chinese usage.

日本語の概要は準備中です。原文の説明を表示しています。

Genre anatomy from John Truby's The Anatomy of Genres (类型解剖 / 类型节拍 / 混合类型 / 超越类型) — genres as beat systems with a life philosophy underneath; three rules (hit every beat of your genre, mix three or four genres, transcend the primary genre), the ladder and families of twelve genres (Horror 恐怖, Action 动作, Myth 神话, Memoir and Coming-of-Age 回忆录与成长, Science Fiction 科幻, Crime 犯罪, Comedy 喜剧, Western 西部, Gangster 黑帮, Fantasy 奇幻, Detective and Thriller 侦探与惊悚, Love 爱情), each with its hero/opponent/world/plot-shape template, beat list, hard rules with failure conditions, subgenres and transcendent paths, plus a genre-mixing worksheet and a diagnostic. Kept beside sw-truby-anatomy and the Field/Snyder page maps. Use when choosing or confirming a script's genre, when a genre story feels generic or misses the beats its audience expects, when mixing genres, when a horror lacks pressure, an action lacks plot, a love story lacks opposition or a detective story lacks reveals.

日本語の概要は準備中です。原文の説明を表示しています。

Writing plays and screenplays in the Chekhovian mode (契诃夫戏剧法) — distilled from the complete plays (没有父亲的人/普拉东诺夫, 伊凡诺夫, 林妖→万尼亚舅舅, 海鸥, 三姊妹, 樱桃园, nine one-acts) plus Chekhov's own letters, Stanislavsky's and Nemirovich-Danchenko's rehearsal notes and 焦菊隐/童道明 criticism. Covers the four-act mood-based structure without central climax, off-stage events, "correct answer stated in Act 1 and refused", the announced event that never happens, three-layer endings (hope monologue + nihilist line + household action), no-villain conflict with environment, every character's object and catchphrase, one-way love chains, half-step-off dialogue, philosophy cut by thirst, the shortest words for the deepest pain, stage-direction and sound discipline, and how Chekhov revised The Wood Demon into Uncle Vanya. Use when the user wants an ensemble drama, a "nothing happens" play, subtext-heavy dialogue, a family estate / provincial story, an anti-climactic structure, or asks how to "Chekhov-ize" a script.

日本語の概要は準備中です。原文の説明を表示しています。

Screenplay format, page craft, the writing process and adaptation (剧本格式/写作流程/改编) — merged from Wendy Henson (spec format rules), Richard Walter (page craft, revision), Neill Hicks (selling vs shooting script, draft chain), Syd Field (master shot, card method, adaptation as original work), Robert McKee (step outline → treatment → screenplay), Julian Hoxter (format elements, adaptation four questions), Diamond & Weissman (one-page nine-step) and Eric Bork — plus an exact typographic grid, element conventions (V.O./O.S., MORE/CONT'D, dual dialogue), a machine-writable output contract (Fountain, with forced markers for Chinese), and Asian industry formats (Chinese 场号制 影视剧本格式, Japanese 柱・ト書き・セリフ / 決定稿). Use when formatting a spec script, choosing the output file format, deciding what goes in action lines, planning drafts and outlines, cutting pages, adapting a novel, play or true story, writing a Chinese TV/film or Japanese-style script page, or preparing a submission-ready draft.

日本語の概要は準備中です。原文の説明を表示しています。

微信公众号排版。Use when the user asks to turn an article, Markdown draft, longform post, essay, newsletter, review, or Chinese article into a WeChat Official Account-ready HTML layout with local preview, selectable Claude/OpenAI/Google-inspired styles, and a button to copy rich HTML for pasting into the WeChat editor.

日本語の概要は準備中です。原文の説明を表示しています。

Create a well-formed git commit from current changes using session history for rationale and summary; use when asked to commit, prepare a commit message, or finalize staged work.

日本語の概要は準備中です。原文の説明を表示しています。

Run Chain-of-Verification (CoVe) on a draft or a block of text with factual claims. Spawns the `claim-verifier` agent in a fresh context (never a conversation fork) so it never sees the draft — then reports which claims are supported, contradicted, or unverifiable. Use when user says "verify these citations", "check the claims in X", "did I hallucinate anything", "fact-check this draft", "run CoVe on this", or after any text generation that asserts facts about papers, datasets, or numerical results. NOT for style/grammar review (use `/proofread`) or substance review (use `/review-paper`).

日本語の概要は準備中です。原文の説明を表示しています。

Read-only proofreading pass over lecture `.tex` or `.qmd` files. Checks grammar, typos, overflow, terminology consistency, and academic writing quality; produces a report without editing. Use when user says "proofread", "check for typos", "look for grammar issues", "copy-edit this", "any writing errors?", or before a lecture release.

日本語の概要は準備中です。原文の説明を表示しています。

Create Ian Xiaohei-style HTML/SVG motion illustrations for Chinese articles, scripts, storyboard scenes, workflow explanations, concept metaphors, and short video visual aids. Use when the user asks for 小黑 SVG、漫画感 HTML、分层 SVG 动效、把小黑生图做成 HTML/SVG、可编辑矢量动效、口播流程动画、手绘漫画动效、正文配图动画, or wants a Xiaohei illustration style adapted into controllable HTML/SVG/GSAP output instead of raster image generation.

日本語の概要は準備中です。原文の説明を表示しています。

从用户提供的小说章节中提炼适合短视频的关键事件，核对情节依据，比较候选场面并转译成分镜与视频制作简报。适用于小说高光、角色宣传和小说预告片策划。

日本語の概要は準備中です。原文の説明を表示しています。

Chinese AI/tech writing de-AI editor for posts, X/Twitter threads, technical essays, product notes, model reviews, and public-writing drafts. Use when the user asks to 去AI味, 改得像本人, 写推特post, 精修中文AI技术文章, or complains about AI-flavored shells such as 不是A而是B, 真正/其实/本质上, 更重要的是, 冒号讲义腔, 空泛总结, 顺滑但没作者判断的稿子.

日本語の概要は準備中です。原文の説明を表示しています。

Turn a company update into 3-7 structurally distinct, journalist-shaped story angles. Runs the fact through proven newsroom lenses (perspective, abstraction, news values, data, contrarian, news peg) and refuses rephrasings, invented facts, named-journalist guesses, and AI-marketing slop.

日本語の概要は準備中です。原文の説明を表示しています。

Cheap, high-recall first-pass filter that removes obvious junk from a detector candidate pool before expensive story-origin research and PR judgment. Decides keep, monitor_only, or reject — never ranks, writes angles, verifies dates, or decides whether to pitch.

日本語の概要は準備中です。原文の説明を表示しています。

Audit, question, suggest, or fact-preservingly revise a press release, blog post, contributed article, or expert explainer so AI answer systems can more easily retrieve, understand, quote, and cite its useful information. Use when someone asks for AI visibility, AI search, answer-engine, AEO, GEO, AI Overview, or ChatGPT citation optimization of supplied writing; when they want an evidence-aware pre-publication audit; or when another Newsjack workflow needs a prose-level AI-discoverability pass. Do not use as a technical SEO audit, rank tracker, publishing system, or promise of rankings, mentions, citations, traffic, or coverage.

日本語の概要は準備中です。原文の説明を表示しています。

Generate headline candidates from a story's raw facts: news-style headlines, press-release headlines, and pitch subject lines. A pure generation skill — it finds the charge in the facts, then runs ten proven moves (consequence, picture, number-as-hero, two-beat turn, naming, reader's-own-story, open question, voice, sound, sized claim), each calibrated by real, verified headlines that made history.

日本語の概要は準備中です。原文の説明を表示しています。

Decide which single journalist at one publication to approach first with a pitch. Fit-checks each candidate through journalist-fit-check, then ranks the survivors on the comparative signals that separate colleagues at the same masthead (topic ownership, format match, staff vs. contributor, publishing cadence, recent story types, source-type match), and returns one first pick with tailoring notes plus a held fallback order.

日本語の概要は準備中です。原文の説明を表示しています。

Recover the first public timestamp and canonical major coverage for a newsjacking signal, then decide whether newer coverage is the same story, a different story, or a materially new development.

日本語の概要は準備中です。原文の説明を表示しています。

Consolidate freshness-gated newsjack signals and route them by client standing before angle generation. Collapses any remaining same-story duplicates, decides strong/partial/none standing with a journalist-shape sanity check, and sorts each story into pitch_ready, big_story (always-surfaced suggestion), or watch. Never writes angles or pitches, and never drops a fresh big story.

日本語の概要は準備中です。原文の説明を表示しています。

Extract conversation turns from AI session history files (.jsonl)

日本語の概要は準備中です。原文の説明を表示しています。